New text online (free) on improving orchestral simulations

[belkina]

http://www.musique.umontreal.ca/personnel/Belkin/Simulation.html

[james_b]

Interesting reading - appreciate the link.

A couple of things that were really distracting though: I'm seeing a lot of this:

<!--[if !supportEmptyParas]--> <!--[endif]-->

in the text. It shows up at the beginning of each section of text (I'm using IE 6 on WinXP).

Also, just a personal opinion, but the background color is less than pleasing to the eye. It really reminds me of... um... well, rotting pumpkins or something. [[;)]] It would be better if the color was much lighter. Saturated colors like that with black text make reading less comfortable.

[evan evans]

I was surprised to find nothing interesting or helpful in this treatise. I'm not a cynic, but talk about cursory.

Evan Evans

[Leon Willett]

Hi Alan,

Thanks for sharing that. However, I do think the title is misleading; I would suggest something more along the lines of "things real musicians do to sound good".

While it is a good text to raise the awareness of simulists on the way the various instruments are played in real life, there is actually no reference whatsoever to improving computer simulations of acoustic instruments. This is a problem, as the very title suggests it does.

May I suggest a part two? Part two delves into:

- how to use controlers to emulate subtle changes in volume;
- how to layer solo strings over the top of section samples in order to simulate the blurring you mention;
- how it is better sometimes to choose dynamic note recordings than flat sustain samples, because they sound more alive;
- how to exagerate a crescendo by painting in an exponential controler curve;
- how to fade in wide vibrato samples to enrich parts of a phrase;
- how to improve brass fanfares by battling with different length marcato/stacatto keyswitches until it sounds natural;
- how to balance an orchestral template so the relative volume between the instruments is correct;
- how to use stereo collapse and reverb sensitively to build a convincing soundstage;
- how to use panned mono early reflections so that, for example, the trumpets on the right excite the left wall;
- using EQ to counter the proximity effect present in all too many sample libraries;
- how to mix in tape noise and orchestra noise to add to the illusion;

And many, many more things! If you publish a text on orchestral simulation, I think it sould talk about orchestral simulation!! [:D]

Best,

Leon

[belkina]

You may be right about the title, I'll think about it. In my experience, *by far* the most common defect in most simulations is lack of knowledge about "things real musicians do to sound good". Once the (electronic) orchestrator is sensitised to these issues, then the kind of specific solutions you propose become relevant. But you are right: those solutions are really the material for another text ....

The problem then becomes: they depend on what software/library you are using. (Not everyone has the luxury of using VSL!) So the kind of (excellent) solutions you propose pretty much have to be specific to the library available...

Best,

Alan

@Leon Willett said:

Hi Alan,

Thanks for sharing that. However, I do think the title is misleading; I would suggest something more along the lines of "things real musicians do to sound good".

While it is a good text to raise the awareness of simulists on the way the various instruments are played in real life, there is actually no reference whatsoever to improving computer simulations of acoustic instruments. This is a problem, as the very title suggests it does.

May I suggest a part two? Part two delves into:

- how to use controlers to emulate subtle changes in volume;
- how to layer solo strings over the top of section samples in order to simulate the blurring you mention;
- how it is better sometimes to choose dynamic note recordings than flat sustain samples, because they sound more alive;
- how to exagerate a crescendo by painting in an exponential controler curve;
- how to fade in wide vibrato samples to enrich parts of a phrase;
- how to improve brass fanfares by battling with different length marcato/stacatto keyswitches until it sounds natural;
- how to balance an orchestral template so the relative volume between the instruments is correct;
- how to use stereo collapse and reverb sensitively to build a convincing soundstage;
- how to use panned mono early reflections so that, for example, the trumpets on the right excite the left wall;
- using EQ to counter the proximity effect present in all too many sample libraries;
- how to mix in tape noise and orchestra noise to add to the illusion;

And many, many more things! If you publish a text on orchestral simulation, I think it sould talk about orchestral simulation!! [:D]

Best,

Leon

[Leon Willett]

Hi Alan,

Thanks for the reply. Actually, I think you will find that the concepts I put forward are applicable in any simulation, whether you are using VSL or advanced orchestra.

Take care! [:D]